***The cobbled music and strange pieces from the unpublished majority of The Quirky Lost Tapes 1993-1995 are as bizarre as the genesis of EL'BLASZCZYK ROCK BAND HIMSELF. Recorded on tape, at times featuring his ten year old little sister, the irresistible charm of El'Blaszczyk's pieces reveal a delicious bawdiness that is reminiscent of the universe of Jean Yanne, Les Charlots or Boby Lapointe. This is vaguely rhythmic garage music. El'Blaszczyk explores such topics as illness, the French resistance during WWII and medicine in general—all adding to the uniqueness of it all. More than a joke, these pieces are subtle and accomplished, but something suggests that these recordings are also their first plays. In parallel to his schooling at the Beaux Arts, El'Blaszczyk was a student of Christian Eloy, the eminent composer of concrete music and head of the electroacoustic creation of class at the National Conservatory of Bordeaux. No doubt a magneto-phage animal, being a student of Eloy's and his time at the academy reinforced his electro-artisanal approach to music. This period of study and intense creativity allowed him to explore a new path to infinite perspectives, but the academic expectations were ultimately codified—productions for the "less displaced" were received with great caution. The academy allowed him access to a usually difficult to mobilize instrumentation by an amateur: Grand piano, Hammond organ, orchestral percussion, drums, synths and VCS3 Moog 55. The sound database has also served as much to his compositions of concrete and electronic music as it did to his pop productions. Individual schedules provision of the studio is often very late—nightlife in working time was perfectly suited to the more diverse sides. Most of the time, El'Blaszczyk proceeded himself to his own sound recordings. A good disciple of his elder's electro acousticians, he tracked his sounds, its unwavering Nagra shoulder.